Head and Chest Voice for Pop Singing

An understanding of Bel Canto’s simple, yet difficult to master, techniques, can be of tremendous use to classical singers who crossover to popular styles of music. Crossing over to popular music, convincingly and safely, is a necessity for the majority of classical singers, both amateur and professional. At some stage, most classical singers are goingContinue reading “Head and Chest Voice for Pop Singing”

The importance of transparency in teaching singing

The country is overrun with inferior teachers in singing: men and women, who have failed to get before the public, turn to teaching without any practical experiences, ruining many good voices. Luisa Tetrazzini, The Art of Singing, quoted in Denes Striny, Great Singers: An Endangered Species – How to get back to Mother Nature, pageContinue reading “The importance of transparency in teaching singing”

Voce di petto – Chest Voice

“Exercises for strengthening the low and middle notes of the voice are more important for sopranos than for voices of any other class ; first, because, in general, that part of the voice is most feeble ; and next, because the transition from the voce di petto to the voce di testa tends to deteriorateContinue reading “Voce di petto – Chest Voice”

Bel Canto and the Modern Singer

I have never met a singer who was not looking for “ping” or what is called brightness. Most voices are hopelessly dead, and therefore lack sweetness. The voices are filled with night – black hollow gloomy night or else they are as strident as the caterwauling of a Tom Cat. The happy mean between theContinue reading “Bel Canto and the Modern Singer”

The most important reason to study Garcia

The most important reason to study Garcia is to develop an easy way of singing. His method is common sense and natural. There is no forcing or using silly tricks. Garcia’s singing exercises, if practised with determination, provide everything that is needed for singing. His singing books are available free on the internet. Here isContinue reading “The most important reason to study Garcia”

Sustainable Operatic Singing vs Unsustainable

Here are three examples of my singing. The first two examples are sustainable. I can sing for hours on end and the next day I am ready to sing again. In fact, the first example is basically sight singing and was recorded at the end of hours of practice. The voice is as fresh asContinue reading “Sustainable Operatic Singing vs Unsustainable”

What sort of tone should an Opera Singer make?

Over Lockdown, I tore my vocal technique apart. I questioned everything. Changed a lot. Kept a lot. Fortunately, I was taught well and, even though I didn’t grasp everything at the time, my past teachers’ words are in my ears. Now, I am putting the pieces together to form a whole. How do I knowContinue reading “What sort of tone should an Opera Singer make?”

Demo of page 71 of Garcia’s ‘Art of Singing’

On page 71, Garcia teaches us how to sing plain passages. In this post, I am going to try out his instructions on a short passage from Lucia’s Mad Scene. See the audio files below. Plain Style Garcia writes, on page 71 of his Treatise, ‘”..chief resources are – steadiness of voice, true intonation, choiceContinue reading “Demo of page 71 of Garcia’s ‘Art of Singing’”